Published on May 26, 2013
Biblioteca Medicea LaurenzianaBasilica San LorenzoChapel of the PrincesMichelangelosNew Sacristy
The Medici Chapels form part of amonumental complex developed overalmost two centuries in closeconnection with the adjoining churchof S. Lorenzo, considered the "official"church of the Medici. Behind thechurch of San Lorenzo, the MediciChapels Museum consists of theMedici Crypt, the Chapel of thePrinces and Michelangelos NewSacristy.Chapel of the PrincesMichelangelosNew Sacristy
At the wishes of theMedici popes, Leo Xand Clement VII,Michelangelo workedto decorate the NewSacristy between 1520and 1534, insuccessive stages.
From theCrypt, stairslead up to theChapel ofPrinces, agrandmausoleumfor the Medicigrand dukes.Along with thesculptural andarchitecturaldecorations,the museumdisplays theTreasure ofthe SanLorenzoBasilica:reliquaries andliturgicalobjects, greatexamples ofRenaissanceand Baroquegoldsmiths art.
The New Sacristywas conceivedfrom the verybeginning as afunerary chapelfor the Medicifamily. It wascommissioned byCardinal Giuliode Medici andPope Leo X.
Michelangelo beganwork on it in 1521, andhad already completedthe vault by 1524, but theexpulsion of the Medicifamily in 1527 and thesiege of Florence causedwork to slow down.
It was the first essay inarchitecture (1521–24) ofMichelangelo, who alsodesigned its monumentsdedicated to certainmembers of the Medicifamily, with sculpturalfigures
Michelangelo leftFlorence in 1534 forthe last time causingthe project to be leftincomplete; theartist had onlymanaged to finishtwo of the tombs,the Tomb ofLorenzo, Duke ofUrbino, and theTomb of Giuliano,Duke of Nemours.
Though it was vaulted over by 1524, the ambitious projects of itssculpture and the intervention of events, such as the temporary exileof the Medici (1527), the death of Giulio, now Pope Clement VII andthe permanent departure of Michelangelo for Rome in 1534, meantthat Michelangelo never finished it.
Tomb of Lorenzo Duke of Urbino withsymbolical figures: Dawn and DuskThough most of the statues had beencarved by the time of Michelangelosdeparture, they had not been put inplace, being left in disarray across thechapel, and later installed by NiccolòTribolo in 1545.
Tomb of Lorenzo Duke of Urbino: Dawn
Tomb of Lorenzo Duke of Urbino withsymbolical figures: Dawn and DuskWhen Michelangelo moved toRome, the sacristy was unfinished,although the architecture andsculpture were almost ready.By order of Cosimo I, GiorgioVasari and Bartolomeo Ammannatifinished the work by 1555.
Tomb of Lorenzo Duke of Urbino: DawnThere were intended to be four Medicitombs, but those of Lorenzo the Magnificentand his brother Giuliano (modestly buriedbeneath the altar at the entrance wall) werenever begun. The result is that the twomagnificent existing tombs are those ofcomparatively insignificant Medici: Lorenzodi Piero, Duke of Urbino and Giuliano diLorenzo, Duke of Nemours.
Tomb of LorenzoDuke of Urbino:Dawn
Lorenzo IIDuke of Urbino(1492–1519)In 1513, Pope LeoX installed hisnephew, Pierosson, Lorenzo II("Duke of Urbino")as the new ruler ofFlorence at theripe old age of 21.Lorenzo II wasdead of syphilis by1519
Tomb of Lorenzo Duke of Urbino:Twilight
Lorenzo II Duke of UrbinoThe most significantthings he accomplishedwere (a) to have a localnoted political thinkernamed NiccolòMachiavelli dedicate tohim his new treatise onhow to govern, titled "ThePrince;" and (b) to have atomb in the MediciChapels decorated byMichelangelo
Tomb of Giuliano, Duke of Nemourswith symbolical figures: Day and Night
Tomb of Giuliano, Duke of Nemours
Tomb of Giuliano,Duke of Nemours:The Night
Giuliano di Lorenzo deMedici (12 March 1479 –17 March 1516) was anItalian nobleman, one ofthree sons of Lorenzo theMagnificent
Tomb of Giuliano,Duke ofNemours: TheDay
Giuliano reigned atFlorence from 1512 to1516Tomb of Giuliano,Duke of Nemours withsymbolical figures: Dayand Night
Tomb of Giuliano, Duke of Nemours withsymbolical figures: Day and Night
Tomb ofGiuliano, Dukeof Nemours:the Night
Tomb ofGiuliano, Dukeof Nemours:the Night
Tomb of Giuliano, Duke ofNemoursHis portrait, painted in Romeby Raphael, shows RomesCastel SantAngelo behind acurtain. (A studio version is atthe Metropolitan Museum.)
Tomb ofLorenzo theMagnificentand hisbrotherGiulianoMadonna andChild; they areflanked bystatues ofSaints Cosmaand Damian(protectors ofthe Medici),executedrespectively byMontorsoli andBaccio daMontelupo,both of whomwere pupils ofMichelangelo.
Flanked by St Cosimo and St Damian, the Virgin forms the spiritualcentre of the Medici Chapel; the eyes of Lorenzo and Giuliano deMedici are turned towards her. Like the first Madonna carved byMichelangelo (a relief in the Casa Buonarroti, Florence), she is sucklingher child, who clings to her strongly. The dynamic interlocking spirals inspace of the two figures suggest a different order of movement thanthat visible in the other figures, and it has been suggested that thegroup was originally intended for one of the earlier versions of the tombof Julius II, and was later employed in the Medici Chapel.
Anna Maria Luisa de Medici (11 August 1667 – 18 February 1743) wasthe last scion of the House of Medici. A patron of the arts, shebequeathed the Medicis large art collection, including the contents ofthe Uffizi, Palazzo Pitti and the Medicean villas, which she inheritedupon her brother Gian Gastones death in 1737, and her Palatinetreasures to the Tuscan state, on the condition that no part of it couldbe removed from "the Capital of the grand ducal State....[and from] thesuccession of His Serene Grand Duke."Her remains were interred in the Medicean necropolis, the Basilica ofSan Lorenzo, Florence, which she helped complete.
The museums ofthe Uffizi, thePitti Palace, andthe Bargello arejust thebeginning of theartistic legacyAnna Mariacreated forFlorence. Shealone wasprobably thesingle greatestprogenitor of thecitys currentstatus as one ofthe world’sgreatest touristand artisticMeccasThe Crypt
Her tomb is inthe crypt.Almost fiftylesser membersof the family areburied in thecrypt, designedby BernardoBuontalenti.
Statue in The CryptStatue in Palazzo PittiAnna Maria Luisa(1667-1743),
Anna Maria Luisassingle most enduringact was the FamilyPact. It ensured that allthe Medicean art andtreasures collectedover nearly threecenturies of politicalascendancy remainedin Florence.Statue of Anna Maria Luisa deMedici, near Medici Chapel,Florence
Cynthia Miller Lawrence, an American art-historian, argues thatAnna Maria Luisa thus provisioned for Tuscanys future economythrough tourism. Sixteen years after her death, the Uffizi Gallery,built by Cosimo the Great, the founder of the Grand Duchy, wasmade open to public viewing
Sound: Alessandro Marcello ~ Oboe Concerto in D minor II. Adagio III.Presto ~(Albrecht Mayer)Text and pictures: InternetCopyright: All the images belong to their authorsPresentation: Sanda Foi oreanuşwww.slideshare.net/michaelasanda
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